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Of course, you do! Especially games that involve torturous death! Lionsgate has released some more goodies for all you Saw fans out there! We have a new featurette, clip, and a couple TV spots for the eighth film in the horror franchise, Jigsaw. They give us a glimpse of the nightmarish terror that awaits audiences and unravel the philosophy of the iconic killer Jigsaw.

I don't know about this movie. I was done with this franchise and now Lionsgate is trying to lure me back in with the return of a killer that's supposed to be dead! When talking about the upcoming film, co-director Michael Spierig told EW:

“We’ve got some pretty wild traps in the film — we don’t shy away from the gore. It’s such a perfect Halloween scarefest. It’s perhaps not quite as vicious and more fun,

A wife and child have gone missing in the small town of Devil’s Gate, North Dakota. While all indicators point to husband Jackson Pritchard as the prime suspect, pushy outsider FBI agent Daria Francis instinctively feels something else is going on in this incestuous hamlet and together with deputy Colt Salter goes to investigate. And indeed they do track down Pritchard, a man caged in unrelenting darkness and despair…

A genre-bending, genre-blending mix of horror, sci-fi and backwoods adventure, Devil’s Gate is one of those films that takes oftern cliched parts from other genres and utilises them in new ways – by playing with and subverting audience expectations to create a story that uses misdirect and convention-bending in ways other films use stereotypes and cliches. Even the title is a misdirect!

Two years on, Neill Blomkamp reflects on the themes and critical reaction to his divisive sci-fi film, Chappie...

"Part sci-fi action film, part crime thriller, part existential drama" was how we described Chappie when it came out in 2015: a genre piece that, beneath its off-beat tone and designer violence, said something quite pertinent and moving about the human experience.

See related Poldark: a beginners’ guide Poldark series 3: brand new trailer

Its central character, an innocent robot installed with artificial intelligence, is as vulnerable to his surroundings and upbringing as any human child; little wonder, then, that in the space of a few days of living with a pair of gangsters, Chappie (played by a mo-capped Sharlto Copley) goes from budding young artist to gun-toting outlaw. For us, this was one reason why Chappie was such an effective, absorbing sci-fi movie - though, to our surprise,

From writer-director Clay Staub—an award-winning commercial director, and the the second unit director of genre films, including The Thing and Dawn of the Dead—Devil’s Gate was one of the more chilling genre-benders to premiere at the 2017 Tribeca Film Festival. Premiering in the Midnight section, the film follows a Gone Girl-type investigation into the disappearance of a mother (Bridget Regan) and child in a small, ominously-named North Dakota town. When all signs point…

When talking about success in Hollywood, luck often comes up. And while the whims of the universe certainly have a lot of sway over everything, there is simply no substitution for good, old fashioned hard work. So if you're an aspiring screenwriter, pay attention to Arrival screenwriter Eric Heisserer. His is a classical, head down, put in the work, kind of success story. Before 2016, Heisserer was king of the horror reboot thanks to the hat trick of A Nightmare on Elm Street, Final Destination 5, and The Thing. That also made him the king of seeing what happens when you hand in your pages and then step away from a production. So starting with 2013's Hours, which he also directed, Heisserer sought more control over projects that originated with him (Aka spec...

On Sunday, the BAFTAs shut out “Moonlight,” which had four nominations. Among them, writer-director Barry Jenkins competed in the Original Screenplay category against eventual BAFTA winner Kenneth Lonergan (“Manchester By the Sea”). These two also compete at the Writers Guild. On Oscar night February 26th, when “Moonlight” has eight chances to win, it should take home at least one Oscar in another category, Best Adapted Screenplay.

The BAFTA for Adapted Screenplay went to Australian writer Luke Davies for “Lion.” But at Saturday’s USC Scripter Awards, which have accurately predicted the adapted category for the last six years, “Moonlight” beat “Lion.” On Oscar night, “Moonlight” should do that again.

On Sunday, the BAFTAs shut out “Moonlight,” which had four nominations. Among them, writer-director Barry Jenkins competed in the Original Screenplay category against eventual BAFTA winner Kenneth Lonergan (“Manchester By the Sea”). These two also compete at the Writers Guild. On Oscar night February 26th, when “Moonlight” has eight chances to win, it should take home at least one Oscar in another category, Best Adapted Screenplay.

The BAFTA for Adapted Screenplay went to Australian writer Luke Davies for “Lion.” But at Saturday’s USC Scripter Awards, which have accurately predicted the adapted category for the last six years, “Moonlight” beat “Lion.” On Oscar night, “Moonlight” should do that again.

In the nearly 20 years since Ted Chiang’s “The Story of Your Life” was published, the story took on a near-mythic quality in the realm of short fiction. As a nuanced, layered piece of science fiction, it blended the complex notions of parental grief with a granular examination of interspecies linguistics. However, the narrative approach that brought Chiang so much acclaim also seemed destined to keep the story confined to words on a page.

Enter screenwriter Eric Heisserer, whose varied interests and occupations provided just the right outside-the-box approach to help guide Dr. Louise Banks’ triumph and heartbreak to the screen in the form of “Arrival.” Heisserer is familiar with genre scripts that stem from an established framework, having worked on “The Thing,” “Nightmare on Elm Street” and a later installment of the the “Final Destination” franchise.

It’s that special time of year again when Tom Woodruff, Jr. and Studio Adi release another behind-the-scenes look at one of the animatronic creatures we saw way too little of in The Thing prequel. We did see some of this,… Continue Reading →

The post Another Heartbreaking Look at the FX for The Thing Prequel appeared first on Dread Central.

With his role in Jeff Nichols’ Loving—his second back-to-back film with Nichols after appearing in Midnight Special—Edgerton is starting to be taken more seriously as a potential Oscar nominee for his role as Richard Loving, a Virginia man who back in the late ’50s married his black sweetheart Mildred (Ruth Negga from Preacher), although it was illegal in the state for them to do so. They essentially leave their families behind and go into hiding until their story is discovered by the

Look under the hood and many of the Hollywood studios’ best movies are independently financed, like Paramount Pictures’ “Arrival.” The studio won the brainy sci-fi thriller in a Cannes 2014 bidding war, plunking down a record $20 million for North America and other territories — but only after it was already financed and packaged with Oscar-nominated Denis Villeneuve, Amy Adams, and Jeremy Renner.

Look under the hood and many of the Hollywood studios’ best movies are independently financed, like Paramount Pictures’ “Arrival.” The studio won the brainy sci-fi thriller in a Cannes 2014 bidding war, plunking down a record $20 million for North America and other territories — but only after it was already financed and packaged with Oscar-nominated Denis Villeneuve, Amy Adams, and Jeremy Renner.

Gravity in October 2013. Interstellar in November 2014. The Martian in October 2015. And Arrival right now. Is autumn Hollywood’s new go-to time for intelligent, intense, grownup science fiction drama? It looks like. It’s a shame we appear to have only one slot for such a film each year, but, you know, baby steps. And each year’s installment has been better than the last: Arrival is a wonder, a beautiful movie that will thrill fans of real science fiction, of the literature of paradigm-busting ideas, as well as those

Screenwriter Eric Heisserer didn’t have a fast and easy path to success in Hollywood, and like many writers who go out to the land of dreams, he had been writing scripts “on spec” for years before he started getting credited screenwriting work. His first paid job was writing the screenplay for the 2008 A Nightmare on Elm Street remake, and he remained working in horror by writing The Thing prequel and Final Destination 5. (He also wrote and produced the recent horror hit Lights Out.)

At the same time, Heisserer continued to work on his own dream projects, including an adaptation of Ted Chiang’s short sci-fi story “The Story of Your Life,” and after years of development, Sicario director Denis Villeneuve expressed interest in making a movie on the story and they were off to the races for what would become Arrival.

“I had many conversations with Neil [Gaiman] on this, and I did a lot of work on the feature and came to the conclusion that the best version of this property exists as an HBO series or limited series, not as a feature film, not even as a trilogy,”Heisserer tells io9. “The structure of the feature film really doesn’t mesh with this. So I went back and said here’s the work that I’ve done. This isn’t where it should be. It needs to go to TV. So I talked myself out of a job!

The adaptation of the author’s classic work has been shedding writers, directors and has left some people wondering if the project is cursed

Perhaps we should be calling it “The Curse of Sandman”. Another screenwriter who was on board to work on the long-proposed movie adaptation of the Neil Gaiman-penned comic book appears to have jumped ship.

Eric Heisserer, whose credits include the recent remakes of 80s horror staples Nightmare on Elm Street and The Thing, was hired back in March by New Line as the latest writer for its troubled project to bring the DC/Vertigo comics series to the big screen. Heisserer was brought in just after director and actor Joseph Gordon-Levitt left the movie, citing creative differences with Warner subsidiary New Line.

Back in March, New Line Cinema's highly-anticipated adaptation of Sandman suffered a huge blow when it lost Joseph Gordon-Levitt, who had been attached to both direct and star in the movie. Today we have word that the project has now lost its screenwriter, Eric Heisserer, who came aboard in March, just one day after Joseph Gordon-Levitt left the project. While doing press for his new movie Arrival, the writer says he's taken himself off the project, and that this Neil Gaiman comic would be better suited as a TV show.

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